155Booklet 8/5/09 11:07 Page 1

ALSO AVAILABLE on signumclassics

On Wenlock Edge Britten Abroad Andrew Kennedy Susan Gritton, Mark Padmore and Iain Burnside SIGCD112 SIGCD122

Rising star Andrew Kennedy is joined by the award-winning ’s legacy of songwriting stretches far beyond the Dante Quartet and pianist Simon Crawford-Phillips to perform a shores of his native - these exquisite settings of a wide quintessentially English collection of songs, spanning three centuries array of European poetry are amongst the most distinctive and of composition: from Vaughan Williams’s beautifully lyrical and finest examples of his art, each written specifically for a much- nostalgic On Wenlock Edge, and Ivor Gurney’s Ludlow and Teme to loved and favoured artist. 21st century settings from one of the finest modern song composers, Ian Venables. “5 stars ***** The Guardian ... a powerfully eloquent performance ...” “Kennedy has a big, bright, expressive tenor voice and uses it with fervour, delicacy and imagination ... A thoughtfully realised recital” “5 stars ***** The Independent on Sunday BBC Music Magazineflawless music-making of the first order”

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 155Booklet 8/5/09 11:07 Page 3

LISZT ABROAD Liszt Abroad nineteenth century song. He composed songs in no less than six different languages: French, German, I have latterly travelled through many new Italian, English, Russian and Hungarian. This 1. Oh! Quand je dors [4.32] countries, have seen many different places, and Francophone Magyar embodied the Euro-citizen, 2. Enfant, si j’étais roi [3.02] visited many a spot hallowed by history and travelling extraordinary distances as a young 3. Gastibelza [7.34] poetry; I have felt that the varied aspects of virtuoso in those années de pélérinage, before 4. Comment, disaient-ils [1.52] nature, and the different incidents associated putting down roots first in Paris, then Weimar and 5. Im Rhein, im schönen Strome [2.56] with them, did not pass before my eyes like eventually Rome. All these cultures played a part 6. Die Loreley [6.49] meaningless pictures, but that they evokedin Liszt’s life. Russia represented an uncomfortable 7. Die Vätergruft [6.04] profound emotions within my soul … I have triedelement in Weimar through tortured, tangled 8. Petrarch Sonnet No. 104: Pace non trovo [6.40] to give musical utterance to some of my strongestnegotiations over the eastern estates of his lover, the Princess Sayn-Wittgenstein; while Britain had 9. Petrarch Sonnet No. 47: Benedetto sia ‘l giorno [6.11] sensations, some of my liveliest impressions. 10. Petrarch Sonnet No. 123: I’ vidi in terra angelici [6.08] Pélérinage a walk-on cameo role through the Princess’s 11. Go not, happy day [3.30] Franz Liszt, from Preface to Suisse, Années de former governess and treasured family retainer, 12. Gebet [3.16] Janet ‘Scotchy’ Anderson. One more European 13. Isten veled! [3.13] flavour enhances this disc. While Liszt does not 14. Morgens steh ich auf und frage [2.06] How could Liszt not write wonderful songs? set the Spanish language, the Gothic horror that is Consider his credentials: one of the greatest Gastibelza takes us to Spain. The only piece I can 15. Ein Fichtenbaum steht einsam [2.30] pianists in history; champion and imaginative think of that is simultaneously Mad Song and 16. Du bist wie eine Blume [2.26] transcriber of songs by Schubert, Schumann and Bolero, Gastibelza abounds in flamboyant local 17. Wie singt die Lerche schön [2.08] Chopin; conductor of by Mozart, Gluck, colour, complemented by the bracing Spanish 18. Blume und Duft [2.24] Beethoven, Donizetti, Verdi, Meyerbeer and Berlioz; guitars of Comment, disaient-ils. 19. Und wir dachten der Toten [2.13] oh, and of course, Wagner’s father-in-law. With 20. Über allen Gipfeln ist Ruh [3.55] voice and piano woven into the fabric of his life, Liszt’s Euro-citizenship had a flipside. Nowhere Liszt’s songs were destined to be special. was he a musical native. He stood outside the Total Timings [79.32] worlds both of French mélodie and German Lieder. As well as offering a personal selection of Liszt His freshness and originality, the very qualities we Rebecca Evans soprano • Andrew Kennedy tenor songs this recording has another agenda: to now find so appealing in both spheres, were not Matthew Rose baritone Iain Burnside piano • spotlight Liszt’s uniquely polyglot position in embraced with enthusiasm by his contemporaries. www.signumrecords.com - 3 - 155Booklet 8/5/09 11:07 Page 5

German critics, Robert and Clara Schumann narrower in range. At the same time, his harmony ihrem Singen/Die Lorelei getan, the song ends. and musical health, so too was their music. And among them, took particular issue with the lack of becomes more daring. The bleak, visionary And that’s what, with her singing/Was done by while father-in-law was always generous in unity in his Lieder, singling out an unhealthy fragment Und wir dachten an die Toten belongs in Lorelei. Liszt breaks into eight phrases what he acknowledging his debt to son-in-law, the tendency to develop, rather than stick to a single thesingt twentieth die Lerche century; schön. as in a quite different way couldit with easily her singing. have set With in herone, singing! shifting in the converse was not always true. Perhaps this final mood. Ironically one could wish for no better does the cheeky major ninth arpeggio, offbeat and process the song’s emphasis. She did it. She did track can shed its own gentle light on that most summary of why Liszt’s Heine settings move unresolved, that greets the morning sun in Wie So Heine’s intriguing musical connection. forward from Schumann’s. As so often in Liszt’s cautionary tale of threatening female sexuality happy day career, he was not thanked for blazing a trail. becomes Liszt’s parable on the power of music. His Iain Burnside Despite the decades and the vast stylistic chasm one and only English song, Tennyson’s Go not, The music on this disc spans over four decades. between them, early and late songs share certain moves in the opposite direction. Three The earliest songs are among the most remarkable. characteristics. Liszt the orchestral conductor times over, with music endlessly teased out, we Liszt was only in his twenties when he chose knew the power of recitative. In almost every song hear that a rose is her mouth. Liszt uses heavily three sonnets by Petrarch, propelled by their here the main action stops, for voice and piano to sexual silences, refusing to cadence, to resolve, to poetic complexity into a new musical language, a break off into a different mode of conversation. At settle. Did Tennyson have any idea of the erotic cross-pollination of Italianate operatic vocal the end of Im Rhein the camera pans away from potential in his last line? Let us hope Liszt never writing and virtuoso pianism. Liszt here moves the river, moving into close-up on the singer, played this song for ‘Scotchy’ Anderson. beyond the confines of the salon, demanding absorbed in thoughts of his lover. The song is from each performer a more heightened level of indeed not unified - that is entirely the point. It is I have chosen to end our CD not with the latest Toten projection, a bigger range and sound palette, than imaginative. This recitative effect finds its song chronologically - Und wir dachten an der sentimento, any song composer had demanded before. And apotheosis in Die Loreley. Liszt is masterly in claims that honour - but with the most yet the end of the third sonnet leaves us con intimo setting up his time frame for Heine’s story, again Wagnerian. There must be a way of superimposing with singer and pianist barely whispering. prematurely cinematic in invoking both present onto Über allen Gipfeln ist Ruh the Prelude to and past. After Heine’s boat has hit the rocks in Wagner’s Parsifal. Liszt’s opening sequence of Most of our music was written in the following full chromatic splendour, it takes a single phrase sublime common chords has always evoked to me decade. The 1840s saw the Victor Hugo songs, from the singer, one rolled secco piano chord, to the Quest for the Grail.Yet the dates are totally inspired by Marie d’Agoult, and most of the turn back the years. wrong: Liszt wrote his song in 1848, nearly thirty Heinrich Heine settings, hot on Schumann’s heels. years before Wagner put pen to manuscript paper. With the passing of time Liszt’s music becomes Loreley shows another of Liszt’s favourite gestures: Just as the lives of these two great men were more ascetic; his textures sparer; his vocal writing repetitions of his own devising. Und das hat mit entangled, for richer or poorer, in musical sickness

- 4 - - 5 - 155Booklet 8/5/09 11:07 Page 7

TEXTS Translations © Uri Liebrecht - www.uritext.co.uk Si j’étais Dieu, la terre et l’air avec les ondes, If I were God, the earth I’d give, the sea, Les anges, les démons courbés devant ma loi, The angels, demons subject to my law, 1. Oh! Quand je dors Oh, Whilst I sleep Et le profond chaos aux entrailles fécondes, Chaos, multiplying ever more, L’éternité, l’espace et les cieux et les mondes, Space, eternity, the heavens would stand in awe, Oh! quand je dors, viens auprès de ma couche, Whilst I sleep, O, come by my bed Pour un baiser de toi. For just one kiss from thee. Comme à Pétrarque apparaissait Laura, As Laura came to Petrarch, Et qu’en passant ton haleine me touche; And in passing, let me feel your breath; Victor Hugo Soudain ma bouche s’entrouvrira. Then my lips will part. 3. Gastibelza Gastibelza Sur mon front morne où peut-être s’achève On my sad brow, which may reveal Un songe noir qui trop longtemps dura, That some black thought has lingered, Gastibelza, l’homme à la carabine, Gastibelza, the man with the gun Que ton regard comme un astre se lève; Let your gaze alight like a rising star; Chantait ainsi: Sang: Soudain mon rêve rayonnera! And my dream will be transfigured. Quelqu’un a-t-il connu Dona Sabine? Did anyone know Donna Sabine? Quelqu’un d’ici? Anyone here? Puis sur ma lèvre où voltige une flamme, Dansez, chantez, villageois! La nuit gagne Then, on my lips, aflame Dance,villagers, sing! Night is falling Éclair d’amour que Dieu même épura, Le mont Falou. With the light of love God himself made pure, On Mount Falou. Pose un baiser, et d’ange deviens femme; Le vent qui vient à travers la montagne Place a kiss; no longer angel, now a woman; And the wind coming down from the mountain Soudain mon âme s’éveillera! Me rendra fou! And my soul will awaken. Is driving me mad..

Victor Hugo (1802 - 1885) Quelqu’un de vous a-t-il connu Sabine, Did anyone know Sabine, Ma senora ? My mistress? 2. Enfant, si j’étais roi My child, if I were king Sa mère était la vieille Maugrabine Her mother was old Maugrabine, D’Antequera, Of Antequerra, Enfant, si j’étais roi, je donnerais l’empire, My child, if I were king, I’d give my empire, Qui chaque nuit criait dans la Tour-Magne Et mon char, et mon sceptre, et mon peuple à genoux, My coach, my sceptre, my people on bended knee, Comme un hibou. Who’d screech every night Et ma couronne d’or, et mes bains de porphyre, My golden crown, my deep blue sapphire, Le vent qui vient à travers la montagne Like an owl Et mes flottes, à qui la mer ne peut suffire, My fleet which all the seas require, Me rendra fou. In the Tour Magne. Pour un regard de vous. For just one look from thee. And the wind coming down from the mountain Is driving me mad..

- 6 - - 7 - 155Booklet 8/5/09 11:07 Page 9

Dansez, chantez, des biens que l’heure envoie Dance, sing, make the most Je la voyais passer de ma demeure I saw her pass my place Il faut user. Of what the hours bring. Et c’était tout. And that was all. Elle était jeune et son oeil plein de joie She was young and her eye, so full of joy, Mais à présent je m’ennuie à toute heure, But now, I worry all the time, Faisait penser. Made me think on these things. Plein de dégoût. Sick to my heart. À ce vieillard qu’un enfant accompagne Throw the old man with a child Rêveur oisif, l’âme dans la campagne, An idle dreamer, my spirit at war, jetez un sou. A penny. La dague au clou. And my dagger beyond use. Le vent qui vient à travers la montagne And the wind coming down from the mountain Le vent qui vient à travers la montagne The wind coming down from the mountain Me rendra fou! Is driving me mad. Me rendra fou! Is driving me mad.

Dansez, chantez, villageois! La nuit gagne Victor Hugo Dance, villagers, sing! Night is falling Le mont Falou. On Mount Falou. Sabine un jour a tout vendu, sa beauté de 4. Comment, disaient-ils ‘Pray, how’, said the Boys Sabine, one day sold everything, her dove-like colombe, beauty, Et son amour, ‘Comment’, disaient-ils, ‘Pray how’, said the boys And her love, Pour l’anneau d’or du comte de Saldagne ‘Avec nos nacelles, ‘Are we going to flee, For the gold ring of the Count de Saldagne, Pour un bijou. Fuir les alguazils?’ The police in our little boat?’ For a piece of jewellery. Le vent qui vient à travers la montagne ‘Ramez’, disaient-elles. ‘Row’, said the girls. Me rendra fou! The wind coming down from the mountain Is driving me mad! ‘Comment’, disaient-ils, ‘Pray how’, said the boys, Sur ce vieux banc souffrez que je m’appuie ‘Oublier querelles, ‘Are we to forget danger, Here, on this old bench, let me rest Car je suis las. Misère et périls?’ Quarrels and hardship?’ For I am tired. Avec ce comte elle s’est donc enfuie! ‘Dormez’, disaient-elles. ‘Sleep’, said the girls. Enfuie, hélas! Then, with this Count, she ran off! Par le chemin qui va vers la Cerdagne, Ran off, alas! ‘Comment’, disaient-ils, ‘Pray how’, said the boys Je ne sais où. She took the road to the Serdagne, ‘Enchanter les belles ‘Are we to enchant you Le vent qui vient à travers la montagne Where to, I don’t know. Sans philtres subtils?’ Without magic potions?’ Me rendra fou! The wind coming down from the mountain ‘Aimez’, disaient-elles. ‘Love’, said the girls. Is driving me mad! Victor Hugo

- 8 - - 9 - 155Booklet 8/5/09 11:07 Page 11

5. Im Rhein In the Rhine Der Gipfel des Berges funkelt The mountain top’s still glowing Im Abendsonnenschein. As the sun’s last rays decline. Im Rhein, im schönen Strome Mirrored in the waters Da spiegelt sich in den Well’n Of the mighty Rhine Die schönste Jungfrau sitzet Seated up there, gorgeous, Mit seinem großen Dome, Stands Cologne Cathedral, Dort oben wunderbar, A maid beyond compare, Das große, heil’ge Köln. That great and holy shrine. Ihr goldnes Geschmeide blitzet, Her golden jewellery glitters, Sie kämmt ihr goldenes Haar. She combs her golden hair. Im Dom da steht ein Bildnis, Inside is a picture Auf goldnem Leder gemalt On leather decked with gold Sie kämmt es mit goldenem Kamme She combs it with a golden comb In meines Lebens Wildnis Und singt ein Lied dabei, Which often brought me comfort And sings a song betimes, Hat’s freundlich hineingestrahlt. Das hat eine wundersame, When life was harsh and cold. A song with a strange melody, Gewaltige Melodei. With strange and powerful rhymes. Es schweben Blumen und Eng’lein Flowers and angels hover Um unsre liebe Frau - Den Schiffer im kleinen Schiffe About Our Lady’s head - Die Augen, die Lippen, die Wänglein - Ergreift es mit wildem Weh, The boatman in his little boat, Those eyes, those lips, those cheeks - Die gleichen der Liebsten genau. Er schaut nicht die Felsenrisse, Gripped by a savage love, Could be my love’s instead. Er schaut nur hinauf in die Höh. Does not see the rocky reef, Heinrich Heine (1797 - 1856) Sees only what’s above. Ich glaube, die Wellen verschlingen 6. Die Loreley Lorelei Am Ende Schiffer und Kahn. I think the waves consumed them, Und das hat mit ihrem Singen Boat and boatman, bye and bye. Ich weiß nicht, was soll es bedeuten I do not know the reason why Die Lorelei getan. And that’s what, with her singing, Daß ich so traurig bin; To sorrow I’m inclined. Was done by Lorelei. Ein Märchen aus alten Zeiten A story from the olden days Heinrich Heine Das kommt mir nicht aus dem Sinn. Is preying on my mind. 7. Die Vätergruft The Ancestral Vault Die Luft ist kühl und es dunkelt, Light’s fading and the air is cool Und ruhig fließt der Rhein; And quiet flows the Rhine, Es schritt wohl über die Heide Striding across the moorland Zur alten Kapell’ empor Till the chapel came in sight,

- 10 - - 11 - 155Booklet 8/5/09 11:07 Page 13

Ein Greis in Waffengeschmeide An old man wearing armour E volo sopra ‘l cielo, e giaccio in terra; Mount to the skies, then bow to earth my face; Und trat in den dunkeln Chor. Went in, out of the light. E nulla stringo, e tutto ‘l mondo abbraccio. Grasp the whole world, yet nothing can obtain.

Die Särge seiner Ahnen The tombs of all his forebears Tal m’ha in priggion, che non m’apre, né serra, His prisoner Love nor frees, nor will detain; Standen der Hall’ entlang, Were ranged along the wall. Né per suo mi ritien, né scioglie il laccio, In toils he holds me not, nor will release; Aus der Tiefe tät ihn mahnen A wondrous, stirring chorus sang E non m’uccide Amor, e non mi sferra; He slays me not, nor yet will he unchain; Ein wunderbarer Gesang. From deep inside the hall. Né mi vuol vivo, né mi trahe d’impaccio. Nor joy allows, nor lets my sorrow cease.

Wohl hab ich euer Grüßen, “Well have I heard your greeting, Veggio senz’occhi; e non ho lingua e grido; Sightless I see my fair; though mute, I mourn; Ihr Heldengeister, gehört, E bramo di perir, e cheggio aita; Spirits, heroes from my birth. I scorn existence, and yet court its stay; Eure Reihe soll ich schließen. Ed ho in odio me stesso, ed amo altrui: I am the last to join your ranks. Detest myself, and for another burn; Heil mir! Ich bin es wert! Salute me! That is my worth.” By grief I’m nurtured; and, though tearful, gay; Pascomi di dolor; piangendo rido; Es stand an kühler Stätte Egualmente mi spiace morte e vita. Ein Sarg noch ungefüllt; In a cold, dark corner In questo stato son, Donna, per Voi. Death I despise, and life alike I hate: Den nahm er zum Ruhebette, Stood a tomb as yet unfilled. Such, lady, dost thou make my wayward state! Zum Pfühle nahm er den Schild. He took it as a bed for rest, Petrarch Translation by Sir Thomas Wyatt His pillow was his shield. Die Hände tät er falten 9. Petrarch Sonnet No. 47 : Benedetto sia ‘l giorno Blest be the year Auf’s Schwert und schlummerte ein; With hands folded securely Die Geisterlaute verhallten, About his sword, he slept. Benedetto sia ‘l giorno, e ‘l mese, e l’anno, Blest be the year, the month, the hour, the day, Da mocht es gar stille sein. The spirit voices faded E la stagione, e ‘l tempo, e l’ora, e ‘l punto The season and the time, and point of space, And silent vigil kept. E ‘l bel paese e ‘l loco, ov’io fui giunto And blest the beauteous country and the place Johann Ludwig Uhland (1787 - 1862) Da’duo begli occhi che legato m’ànno; Where first of two bright eyes I felt the sway:

8. Petrarch Sonnet No. 104 : Pace non trovo Warfare I cannot wage E benedetto il primo dolce affanno Blest the sweet pain of which I was the prey, Ch’i’ ebbi ad esser con Amor congiunto, When newly doom’d Love’s sovereign law to embrace, Pace non trovo, e non ho da far guerra, Warfare I cannot wage, yet know not peace; E l’arco e la saette ond’ i’ fui punto, And blest the bow and shaft to which I trace, E temo, e spero, ed ardo, e son un ghiaccio: I fear, I hope, I burn, I freeze again; E le piaghe, ch’infino al cor mi vanno. The wound that to my inmost heart found way:

- 12 - - 13 - 155Booklet 8/5/09 11:07 Page 15

Benedette le voci tante, ch’io Blest be the ceaseless accents of my tongue, Ed era ‘l cielo all’armonia s’intento And heaven unto the music so inclined, Chiamando il nome di Laura ho sparte, Unwearied breathing my loved lady’s name: Che non si vedea in ramo mover foglia. That not a leaf was seen to stir the shade; E i sospiri e le lagrime e ‘l desio. Blest my fond wishes, sighs, and tears, and pains: Tanta dolcezza avea pien l’aer e ‘l vento. Such melody had fraught the winds, the atmosphere. Blest be the lays in which her praise I sung, E benedette sian tutte le carte Petrarch Translation by Francis Wrangham Ov’io fama le acquisto, e il pensier mio, That on all sides acquired to her fair fame, Ch’è sol di lei, si ch’altra non v’ha parte. And blest my thoughts! for o’er them all she reigns. 11. Go not, happy day

Petrarch Translation by Francis Wrangham Go not, happy day, From the shining fields, 10. Petrarch Sonnet No. 123 : I’ vidi in terra I beheld on earth angelic grace Go not, happy day, angelici costumi Till the maiden yields. Rosy is the West, I’ vidi in terra angelici costumi, Yes, I beheld on earth angelic grace, Rosy is the South, E celesti bellezze al mondo sole; And charms divine which mortals rarely see, Roses are her cheeks, Tal che di rimembrar mi giova, e dole: Such as both glad and pain the memory; And a rose her mouth. Che quant’io miro, par sogni, ombre, e fumi. Vain, light, unreal is all else I trace: When the happy ‘Yes’ E vidi lagrimar que’ duo bei lumi, Tears I saw shower’d from those fine eyes apace, Falters from her lips, Ch’han fatto mille volte invidia al sole; Of which the sun ofttimes might envious be; Pass and blush the news Ed udì’ sospirando dir parole Accents I heard sigh’d forth so movingly, Over glowing ships; Che farian gir i monti, e stare i fiumi. As to stay floods, or mountains to displace. Over blowing seas, Over seas at rest, Amor! senno! valor, pietate, e doglia Pass the happy news, Love and good sense, firmness, with pity join’d Facean piangendo un più dolce concento Blush it thro’ the West; And wailful grief, a sweeter concert made D’ogni altro, che nel mondo udir si soglia. Than ever yet was pour’d on human ear: Till the red man dance By his red cedar-tree, And the red man’s babe Leap, beyond the sea. - 14 - - 15 - 155Booklet 8/5/09 11:07 Page 17

Blush from West to East, 13. Isten veled! Farewell Blush from East to West, Till the West is East, Isten veled, Isten veled! Fare thee well. I am going Blush it thro’ the West. Hajh! Tetöled messze távozom. Far away, Rosy is the West, Ah! De képed’ és szerelmed; But in my heart you Rosy is the South, Szümben hordozom. And the love I have for you will stay. Roses are her cheeks, And a rose her mouth. Lelkemet, lelkemet zálogul I now pledge my soul to you Vedd, csak szerelmet adj. And hope the love you have for me is true. Lord Alfred Tennyson (1809 - 1892) Ah! De hivet hü szerelmet, Csak szerelmet adj. 12. Gebet Prayer L. Horvath * V minutu zhizni trudnuju At times when I’m despondent, tesnitsjal’ v serdce grust’, See darkness everywhere, odnu molitvu chudnuju I find comfort and encouragement 14. Morgens steh’ ich auf und frage I wonder every morning tverzhu ja najizust’. In a wonderful little prayer. Morgens steh’ ich auf und frage: I wonder every morning: Jest’ sila blagodatnaja Its solemn, holy words Kommt Feinsliebchen heut? Will I see my love today? v sozvuch’ji1 slov zhivykh, Resound so full of life Abends sink’ ich hin und klage: And every evening I complain: i dyshit neponjatnaja, That I feel true repentance, Aus blieb sie auch heut. Again she stayed away. svjataja prelest’ v nikh. Inspired, and free from strife. In der Nacht mit meinem Kummer Every night, with heartache, S dushi kak bremja skatitsja, Lieg’ ich schlaflos, wach; Doubt meekly leaves my heart, then, I lie sleepless, wide awake, somnen’je daleko - Träumend, wie im halben Schlummer, Burden I no longer bear. And through the daylight hours I wait i veritsja, i plachetsja, Wandle ich bei Tag! I weep anew, believe anew, In a dreamy, trancelike state. i tak legko, legko. Am walking, now, on air. Heinrich Heine Mikhail Yur’yevich Lermontov (1814 - 1841) * newly edited text and meaning provided by Ildiko and Ernest Wollner

- 16 - - 17 - 155Booklet 8/5/09 11:07 Page 19

15. Ein Fichtenbaum A Pine Tree 17. Wie singt die Lerche How prettily the Lark sings

Ein Fichtenbaum steht einsam A pine tree stands dozing Wie singt die Lerche schön How prettily the lark sings Im Norden auf kahler Höh’; On a barren, northern height, Im Tal und auf den Höh’n, In the hills and in the vale Ihn schläfert; mit weißer Decke All bedecked in snow, Wenn der Morgen graut, At the break of day Umhüllen ihn Eis und Schnee. So icy cold and white. Und die Blümlein, frisch betaut, When bedewed flowers, crystalline, Harren auf den Sonnenschein. Are waiting for the sun to shine. Er träumt von einer Palme, He’s dreaming of a palm tree Die, fern im Morgenland, In far off eastern lands, So sing, mein Herz, nun auch So, too, my heart, sing Einsam und schweigend trauert Mourning alone, in silence, Beim frischen Morgenhauch. In the fresh morning air, Auf brennender Felsenwand. On burning, sun-baked sands. Hast du auch gewacht Though sleepless you have lain there Unter Gram und Pein diese Nacht, In grief and pain, supine, Heinrich Heine Dein auch harrt ein Sonnenschein. Waiting for the sun to shine.

16. Du bist wie eine Blume You are like a flower A H H von Fallersleben (1794-1874)

Du bist wie eine Blume You are like a flower, 18. Blume und Duft Flower and Perfume So hold und schön und rein; So sweet and pure and fair; Ich schau’ dich an, und Wehmut But when I gaze upon you In Frühlings Heiligtume, If, in sacred spring, Schleicht mir ins Herz hinein. My heart is filled with care. Wenn dir ein Duft an’s Tiefste rührt, Some perfume moves you deeply, Da suche nicht die Blume, Don’t look for the flower Mir ist, als ob ich die Hände I feel I should hold out Der ihn ein Hauch entführt. Whence it blew importunely. Aufs Haupt dir legen sollt’, My hands above your hair Betend, daß dich Gott erhalte And pray that God preserve you, Der Duft läßt Ew’ges ahnen, Perfume intimates eternity, So rein und schön und hold. So sweet and pure and fair. Von unbegrenztem Leben voll; Life whose limits can’t be surveyed; Die Blume kann nur mahnen, The flower just reminds us of Heinrich Heine Wie schnell sie welken soll. How quickly it will fade.

Christian Friedrich Hebbel (1813-1863)

- 18 - - 19 - 155Booklet 8/5/09 11:07 Page 21 Und wir dachten an der Toten. Der Regen rann, Die Rosse schnoben, Rund um die Wachtfeuer lohten; Und wir ritten hindann, Und nun kam die Nacht, 19. Und wir dachten an der Toten J W von Goethe (1749 - 1832) Ruhest du auch! Warte nur, balde Die Vögelein schweigen im Walde, Kaum einen Hauch; Spürest du In allen Wipfeln Über allen Gipfeln ist Ruh, 20. Über allen Gipfeln ist Ruh Ferdinand Freiligrath (1810 - 1876) - 20

-

You too’ll be at ease. Just see, before long And we thought of the dead. And no birdsong. Rain fell, Barely a breeze The horses were snorting, In the trees, All around, the camp fires glowed red, All’s still. And we rode up. In the hills On the Road at Eventide ... And now night came And we thought of the Dead Her future plans include Ginevra in Oviedo, Almaviva (Le nozze di Figaro) and Mimi for WNO. Covent Garden, her role debut as Countess Engagements this season include Zerlina at Lyric of Chicago and . , New York, Santa Fe Opera, the career in America where she has sung for the ENO. She has also established a major operatic Berlin, Opera de Lausanne, Scottish and Elsewhere she has sung for Deutsche Staatsoper, () and Susanna (Le nozze di Figaro). (Arabella), Servilia (), Ilia Nannetta, Sophie (Der Rosenkavalier), Zdenka roles there have included Ginevra (Ariodante), guest at the Bayerische Staatsoper, , her () and Johanna (Sweeney Todd). A regular Giovanni), Despina (Così fan tutte), Nannetta sung Pamina (Die Zauberflöte), Zerlina (Don At the , Covent Garden, she has at the Guildhall School of Music and Drama. Rebecca Evans was born in South Wales and studied EVANSREBECCA BIOGRAPHIES - 21 -

© Sian Trenberth 155Booklet 8/5/09 11:07 Page 23

Governess at the ENO, Countess at the Ravinia songs (EMI). On television she has appeared on Concert engagements include Jaquino (Fidelio), Festival and Mimi at Covent Garden. the BBC in ‘Maestro’, as Belinda (Dido and Francesco (Benvenuto Cellini) and Mozart Aeneas) and as host of her own series ‘A Touch for the LSO/Sir (all recorded In concert she has appeared at the Salzburg, of Classics’. for the LSO Live CD label); Novice () for Edinburgh, Tanglewood and Ravinia Festivals and LSO/Harding, recorded on EMI/Virgin Classics; she is a regular guest at the BBC Proms. She has ANDREW KENNEDY Tom Rakewell The Rake’s Progress (Stresa sung with the with Tilson Festival/Noseda), Orfeo in Haydn Orfeo e Euridice Thomas, the Boston Symphony Orchestra with Andrew Kennedy studied at King’s College, (Boston Handel and Haydn Society/Norrington); Tate, the Orchestra of the Age of Enlightenment Cambridge and the Royal College of Music in Tobiader HelianeIl Ritorna di Tobia (OAE/Norrington); Mozart with Mackerras, the Monteverdi Choir and . He was a member of the Young Artists RequiemImmortalityand Young Man in Korngold’s Das Wunder Orchestra with Sir and the Programme at the Royal Opera House, Covent Garden Minor (LPO/Jurowski); Finzi Intimations of Sapporo Symphony Orchestra with Otaka. She has where he performed many solo principal roles. Passion (BBCSO/Daniel); Mozart Mass in C appeared in Gala Concerts with , (Hallé Orchestra/Elder); St. Matthew Andrea Bocelli and with Luciano Pavarotti and she Andrew has won numerous prizes and awards (Netherlands Philharmonic/Colin Davis) sang at the Gala Concert to celebrate the opening including the 2005 BBC Cardiff Singer of the and Elgar Spirit of England at the 2007 Last Night of the Welsh Assembly in the presence of Her World Rosenblatt Recital Prize. He is a Borletti- of the BBC Proms. Performances of Britten include Majesty the Queen and HRH The Prince of Wales. Buitoni Trust Award winner and won the Nocturne (BBC National Orchestra of Wales), prestigious Royal Philharmonic Society Young Serenade for Tenor, Horn and Strings (CBSO, BBC In recital, she has sung at the , Artists’ Award in 2006. He was also a member of Scottish Symphony Orchestra and BBC National London; and the Barcelona, Ravinia, Buxton, BBC Radio 3 New Generation Artists Scheme. Orchestra of Wales and at the BBC Proms with the Belfast and Beaulieu-sur-Mer Festivals. Nash Ensemble/Edward Gardner) and Les Illuminations © Ben Ealovega Operatic roles include Tamino () (Edinburgh International Festival / Scottish A Grammy Award winning artist, she has recorded for ; Flute (A Midsummer Ensemble and with the Orchestre de Picardie). four solo albums (‘Strauss Songs’ with Roger Vignoles prolifically including Marzelline, Pamina and Night’s Dream) for Royal Opera Covent Garden and for Hyperion; ‘On Wenlock Edge’ with the Dante Gretel with Sir , Ilia with David Jaquino (Fidelio) for Glyndebourne Festival. He has Equally passionate about song repertoire, Andrew Quartet/Simon Crawford Philips for Signum Classics; Parry and Laila with Brad Cohen (Chandos); also appeared for Glyndebourne Touring Opera, gives numerous recitals in Europe and the UK and ‘The Dark Pastoral’ with and Simon Nanetta with Sir John Eliot Gardiner (Philips); a Opera North, , Opéra de Lyon and appears regularly with the pianists Julius Drake, Russell Beale for Altara Classics and ‘The Curlew’ series of Gilbert and Sullivan recordings with Sir Houston Grand Opera. Roger Vignoles, Iain Burnside and Malcolm with Simon Lepper for Landor Records) and Charles Mackerras and a solo recording of Italian Martineau. Andrew’s fast growing discography includes several shared recital discs ( including ‘On Buying

- 22 - - 23 - 155Booklet 8/5/09 11:07 Page 25

A Horse’ with Iain Burnside for Signum Classics). In concert, his recent engagements have included IAIN BURNSIDE Andrew will record his first orchestral album of appearances with the LSO with Sir Colin Davis, Gluck, Berlioz and Mozart arias later on this year. Daniel Harding and Michael Tilson Thomas; the Interweaving roles as pianist and Sony-Award- Dresden Staatskapelle, Scottish Chamber winning radio presenter with equal aplomb, Iain MATTHEW ROSE Orchestra and with Burnside (“pretty much ideal” BBC Music Mackerras; the Tonhalle Orchestra Zurich with Magazine) is also - as his Century Songs British Matthew Rose studied at Christ Dutoit and the BBC Symphony Orchestra with demonstrated - a master programmer with an Church University, Canterbury and at the Curtis Belohlávek. He appears regularly at the Edinburgh instinct for the telling juxtaposition. His Institute of Music in the United States before International Festival and the BBC Proms. recordings straddle an exuberantly eclectic becoming a member of the Young Artists’ Programme repertoire ranging from Schoenberg and Copland at the Royal Opera House, Covent Garden. In recital he has appeared at the Chester and to Debussy and - with a special place Cheltenham International Festivals and he has For the Royal Opera his roles have included performed Schubert’s ‘Schwanengesang’ with Bottom (A Midsummer Night’s Dream), Colline (La Malcolm Martineau at St John’s Smith Square and bohème), Masetto (), Zuniga (), in Edinburgh. Tom (), Collatinus () and, in concert, Albert (). His recordings include Der Steuermann (Tristan und Isolde) with Pappano; Ratcliffe (Billy Budd) In 2005 he made an acclaimed debut at the with Harding and Bel Canto arias with Natalie Glyndebourne Festival as Bottom for which he Dessay and Evelino Pido for EMI; Mozart arias with received the John Christie Award. Other © Clive Barda the Classical Opera Company for Sony; Mozart’s appearances include Bottom at the Opera ‘Requiem’ with Belohlávek and Tippett’s ‘A Child National de Lyon and for the Houston Grand Opera; His engagements this season and beyond include of our Time’ and Berlioz’s ‘L’enfance du Christ’ Mozart’s Figaro in Lille; Collatinus at the Teatro Bottom at , Milan; Polyphemus (Acis and with Sir Colin Davis for LSO Live. Réal in Madrid; Speaker (The Magic Flute) and Galatea) at Covent Garden; his role debut as Colline at the English National Opera and, for the Leporello (Don Giovanni) at Santa Fe as well as He is the recipient of the Independent Opera / , the Monk () and returns to the Glyndebourne Festival and his debut Wigmore Hall Fellowship. Mozart’s Figaro. In the U.S. he has also performed at the Metropolitan Opera, New York. with the Opera Company of Philadelphia and for the Opera Festival of New Jersey. - 24 - - 25 - 155Booklet 8/5/09 11:07 Page 27

reserved for the highways and byways of English “Mark Padmore’s singing of the Michelangelo Song, as his acclaimed Signum recordings of FG Sonnets has all the grace of the young Pears Scott and Herbert Hughes have proved. Other without his mannerisms ... Iain Burnside is a tower Signum releases include two volumes of of strength throughout”The Sunday Telegraph Beethoven songs with Ann Murray, John Mark Ainsley and Roderick Williams; Britten Abroad with Beethoven: Lieder und Gesänge (SIGCD145) Mark Padmore and Susan Gritton; Korngold songs John Mark Ainsley • Iain Burnside BBC is a trademark of the British Broadcasting Corporation and is used under license. BBC © BBC 1996 with Sarah Connolly and William Dazeley. Naxos

recordings feature Vaughan Williams, Ireland and “There is something monumental about John Mark Recorded at the Warehouse, London. the complete Finzi songs; future releases include Ainsley’s Beethoven. Iain Burnside’s fluid playing Rebecca Evans (tracks 1, 4, 8, 9, 10, 17 & 20) recorded 26th & 30th March 2008. Engineer - Michael Bacon Ivor Gurney songs with Susan Bickley. is delightful, while Ainsley’s artistry is fascinating.” The Independent Andrew Kennedy (tracks 2, 5, 6, 11, 13, 14, 16 & 18) recorded 19th July 2007. He currently presents Sunday Morning on BBC Radio 3. Engineer - Michael Bacon “John Mark Ainsley’s delivery is faultless, his Matthew Rose (tracks 3, 7, 12, 15 & 19) recorded 21st November 2007. masterly control of the line revealing profound Engineer - Tracy Ross emotion in these often under-estimated gems; Producer - Emma Bloxham IAIN BURNSIDE ON Burnside’s piano parts are beautifully judged, Cover Image - iStockPhoto Design and Artwork - Woven Design www.wovendesign.co.uk SIGNUM RECORDS too.”Klassisk Musikkmagasin P 2009 Signum Records Ltd. C 2009 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Britten Abroad (SIGCD122) A Purse of Gold: Irish Songs by Herbert Hughes Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. • • • Susan Gritton Mark Padmore Iain Burnside (SIGCD106) Iain Burnside Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

“5 stars ... a powerfully eloquent performance” “The word ‘arrangement’ as Burnside suggests, SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK The Guardian doesn’t do justice to the inventive piano writing +44 (0) 20 8997 4000 E-mail: [email protected] and pacing of so many of these pieces ... Soprano www.signumrecords.com “5 stars ... flawless music-making of the first order” Ailish Tynan’s feeling for the musical idiom and, BBC Music Magazine above all, the poetry of her countrymen, matched by Burnside’s delightfully poetic pianism, prove irresistible. Highly recommended”Classic FM

- 26 - - 27 -